James Nachtwey recounts that his decision to become a photographer was a decision to become a war photographer—he saw the power of image as indictment and felt compelled to pick up a camera. War Photographer follows Nachtwey around the world and into wars in Kosovo, Indonesia, and Palestine. As we observe, Nachtwey’s internal monologue opens a window to his creative process. He is remarkably forthcoming about the fears and struggles he has as he discusses exchanges of vulnerability—his attempt to approach the people he documents with openness, and his desire to give them a voice through his images. A “microcam” fixed atop Nachtwey’s SLR camera offers the audience an immediate, first-person perspective on the scenes he captures—we’re there with him in the moment as he releases the shutter and creates the frame. Away from the frontlines, we watch Nachtwey as he develops and edits his work for print. Friends and colleagues, like Christiane Amanpour, discuss the impact of Nachtwey’s photographs, and the quiet, thoughtful method responsible for these immensely powerful representations.  ST